DOCSLIB.ORG

Contemporary Shibori Artist Yvonne Wakabayashi Eileen Wheeler [email protected]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contemporary Shibori Artist Yvonne Wakabayashi Eileen Wheeler Emwheeler@Outlook.Com University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2018 Manipulating the Threads of Culture: Contemporary Shibori Artist Yvonne Wakabayashi Eileen Wheeler [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Wheeler, Eileen, "Manipulating the Threads of Culture: Contemporary Shibori Artist Yvonne Wakabayashi" (2018). Textile Society of America Symposium Proceedings. 1121. https://digitalcommons.unl.edu/tsaconf/1121 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Textile Society of America Symposium Proceedings 2018 Presented at Vancouver, BC, Canada; September 19 – 23, 2018 https://digitalcommons.unl.edu/tsaconf/ Copyright © by the author(s). doi 10.32873/unl.dc.tsasp.0058 Manipulating the Threads of Culture: Contemporary Shibori Artist Yvonne Wakabayashi Eileen Wheeler In an undulating manipulation of sea forms, a Japanese sensibility merges with contemporary craft skills honed in the western world. Enfolded in the shapes of such textile works as Waters Edge III (Figure 1) by Canada’s shibori expert, Yvonne Wakabayashi, are cultural memory and a family identity shaped by the sea and by emigration. 1 This paper explores how an individual artist embraces her identity within a social context rooted culturally in both east and west, negotiates the upheaval wrought on her parents’ generation and creates art with a global reach that honours her ancestry. Deeply anchored in her practice of shaping and manipulating fibre are both the Japanese aesthetics absorbed at an early age at her mother’s side and the inspiration of the natural environment Wakabayashi finds along the shores of her own birth place, Canada’s west coast. The Waters Edge wall sculpture series, the work of a mature textile artist, is the culmination of these key influences. Figure 1. Waters Edge III, 60” L x 21” W x 7” D (1.5m x .5m x 18cm) indigo dyed, arashi shibori, 3D forms. Image by Kenji Nagai, 2003. 1 Lesley Richmond, Textile Artist: Yvonne Wakabayashi. Nikkei Images - National Nikkei Museum and Heritage Centre Newsletter, 10 (1) 2005, 4. doi 10.32873/unl.dc.tsasp.0058 SHAPING IDENTITY As a maker of sculpture, narrative wall hangings and fashion pieces Yvonne Wakabayashi of Burnaby, British Columbia has an international stature as an exhibiting textile artist. At the root of Wakabayashi’s artistic focus are family attachments to two locales. The first is of her grandparents and parents to Sashima Island, home to Tasakas in Japan since the 1600s. Secondly is the relationship of Tasaka family members who emigrated, beginning in 1893, to Saltspring Island, British Columbia. Here family history is intertwined with a livelihood from fishing and shipbuilding. The artist embraces her family of origin’s relationship to the sea as inspiration; “I am drawn to the water…the patterns on the waters’ edge, jelly fish, sea birds, the pebbles I collect – I relate it all to shibori.”2 This creative focus coalesced with her first direct engagement with the historic textile arts of Japan. As a Master of Education student with a classical art history education and a visual arts training in drawing, painting and ceramics, the artist was searching for her artistic voice in the early 1980s when her art education instructor suggested a research trip to Japan. Here, the artist connected with her living relatives and discovered and embraced shibori (compressed, tied, dyed fabric) with its ancestral links that deeply honour craft while offering innovative contemporary possibilities. On her sojourn to Japan, Yvonne Wakabayashi studied with indigo master and contemporary shibori artist, Hiroyuki Shindo. Both process and materials spoke to the young artist and teacher as she found a key medium in which to express herself. Traditionally shibori physically shapes silk and lends itself to visual and tactile forms. Metaphorically the surfaces almost invariably suggest images of the sea. Arashi Shibori, a refinement in the shaping techniques, entails making patterns that echo a rainstorm by tightly compressing fabric with wrapped threads around a pole before dyeing. Once dried, the folds are retained leaving a memory on the fabric. The process produces highly individual impressions of the touch of the artisan as the level of force applied and the nature of stitches shapes how the dye is recorded by the cloth.3 The cloth and tools utilized in the workshop spoke equally to the artist visiting Japan. Gunma silk retains its sericin allowing sculptural integrity. The narrow cloth sourced from Japan became a staple for Wakabayashi. Similarly, a tool was discovered. “I’m little… the hera fits in my hand; it’s an extension of me.” Conventionally used to spread katazome paste in a Japanese stencilling process, this textile artist uses the traditional tool to disperse and mix colour ‘as she goes’ in the contemporary practice of screen printing. “These precious ancestral materials, inspiring in themselves, allow me to merge ideas creating pieces that articulate simplicity and austerity.” Water’s Edge III, illustrates the full development of Yvonne Wakabayashi’s thematic and technical approach that coalesced in Japan. Emblematic of the country, indigo dye by its very nature sits on the surface as a lingering presence metaphorically maintaining the memory of her lineage. “The ‘eastern’ process of creating arashi shibori captivates and lures me to play and manipulate an undulating surface.” Together with western printmaking techniques from her art 2 Unless otherwise noted, all quotes are from personal communications with my friend Yvonne Wakabayashi (sometimes referred to as ‘Yvonne’), October 31, 2002 to September 15, 2018 and are distinguished by Arial font. 3 Yoshiko Wada, Memory on Cloth: Shibori now, (New York: Kodansha International, 2002), 178. doi 10.32873/unl.dc.tsasp.0058 education studies, shibori became central to her fashion-related teaching and her developing textile art form that would be exhibited at home and abroad. These elements of fabric and tools uncovered in the artist’s quest in Japan are linked with a design sensibility rooted in a young Yvonne Tasaka’s family and culture. She outlines her early art education at home absorbing her mother Ayame Tasaka’s approach to artistry. Ayame created a small space, perhaps just a corner with a well considered floral arrangement, that became a point of refuge during the stress of internment. 4 “This was her space, her way of expressing herself …There was no money for paintings…There were Japanese calendars, Japanese colours, utensils and ceramics for the tea ceremony. The table was set a certain way.” The textile artist uses ikebana, the art of flower arranging, as an example of what she learned in her home with her mother and acknowledges that she absorbed traditional Japanese sensibilities, “always understated, reserved. That’s why I wear black; I’m comfortable in subdued colours.” These aesthetics, imbued with her mother’s heritage, underpin the design principles she employs in her textile art as she arranges shapes, formulates textures and considers scale as she seeks to honour her heritage and interact with the natural world. THE UNBROKEN THREAD A personal goal to record family history was heightened for Yvonne Wakabayashi with the death of Ayame Tasaka in 1981. “I looked at my mother’s high school yearbook [from 1920s Japan] and examined her school uniform. It was indigo and ikat!” Her mother and the other students are dressed in materials that not only speak of the fabric traditions of Japan but are evident in contemporary surface design techniques favoured by textile artists. The indigo dyeing and the resist tying of yarns before dyeing for subsequent weaving are traditional Japanese techniques. As an active indigo dyer, the textile artist was delighted to find a familial connection in the record of her mother’s garments to the art she had studied alongside Japanese master practitioners. In effect it affirmed her choice of materials and a sense of belonging in her chosen field. The topic of the Tasaka family’s internment during the Second World War is not central to her life nor is it the direct focus of Yvonne Wakabayashi’s art, but it appears as an unbroken thread in the background fabric of her own Japanese-Canadian family and the one into which she married, the Wakabayashis. It reverberates in any discussion of her parents whom she clearly cherished and her memorializing of them, a frequent motivation for her art. At the beginning of the Second World War all people of Japanese ancestry were ordered ‘as enemy aliens’ to leave their homes near the coastline of British Columbia. Between 21,000 and 23,000 people, three quarters of whom were naturalized citizens or Canadian born, moved or were moved out of the protected area.5 In a sweeping action harsher than that taken by the United States on its Japanese citizens, Japanese Canadians lost businesses, farmlands, fishing boats and personal effects in addition to their homes and were discouraged from returning to the coast at 4 Eileen Wheeler, “Engaging Women's History Through Textiles: Enhancing Curricula with Narratives of Historical Memory,” unpublished M.A. thesis, Vancouver: University of British Columbia, 2005, 72. 5 Ted Ohashi and Yvonne Wakabayashi, Tasaka, (North Vancouver, BC: Self-published, 2005). doi 10.32873/unl.dc.tsasp.0058 war’s end.6 In the discussions of ‘redress’ over subsequent decades, it became evident that internment violated Japanese Canadians “on a personal level as individuals and families… and on a public level as Canadian citizens.”7 For the Tasaka family, it was an exile to remote BC for seven years.
Load more

Recommended publications
  • Tie-Dye Shibori Mahaju E Muito Mais
    tudo sobre tingimento apostila grátis degradêtie-dye shibori mahaju e muito mais corantesguarany.com.br Customize lindos óculos 14 4 Introdução 6 Por onde devo começar? 10 Tingecor 12 Vivacor Acompanhe nosso blog e redes sociais para conferir tutoriais, assistir a vídeos, tirar suas dúvidas e muito mais! 14 Sintexcor 16 Colorjeans B corantesguarany.com.br/blog 18 Fixacor facebook.com/corantesguarany 19 Tiracor Recupere seu jeans 16 20 Como misturar as cores @corantesguarany 20 Tipos de tingimento youtube.com/corantesguarany Aprenda corantesguarany.com.br o degradê 28 4 1. Introdução 5 tingimento O tingimento é uma técnica milenar que passou por diversas modificações e estudos ao longo dos anos, desde a sua forma natural, até chegar aos processos atuais de tingimento, com corantes sintéticos. Com grande poder de expressão, o mundo do tingimento abre diversas possibilidades. Este pode ser um simples reforço da cor original do tecido ou até a execução dos mais diversos tipos de técnicas aplicadas em moda, 1. decoração, artesanato, acessórios. São infinitas possibilidades. Esta apostila irá abrir as portas deste universo de cores e, para isso, foi introdução dividida em 5 etapas: identificação do tipo de fibra do tecido, quantidade de produto que deve ser utilizada, produtos para tingimento, mistura de cores e técnicas de tingimento. O objetivo é trazer inspiração para o seu dia, despertar um novo hobby, auxiliar na customização de uma peça ou, quem sabe, gerar uma opção de renda. Crie, empreenda e divirta-se! Guaranita corantesguarany.com.br 6 2. Por onde devo começar? 7 passo 1: como identificar a fibra do tecido Corte um pequeno pedaço do tecido, torça-o em forma de fio e queime-o na ponta.
    [Show full text]
  • Kimonos Meet Couture - WSJ
    Kimonos Meet Couture - WSJ https://www.wsj.com/articles/kimonos-meet-couture-15392695... DOW JONES, A NEWS CORP COMPANY DJIA 25297.27 -1.18% ▼ Nasdaq 7362.38 -0.80% ▼ U.S. 10 Yr 2/32Yield 3.160% ▲ Crude Oil 71.72 -1.98% ▼ Euro 1.1558 0.33% ▲ This copy is for your personal, non-commercial use only. To order presentation-ready copies for distribution to your colleagues, clients or customers visit http://www.djreprints.com. https://www.wsj.com/articles/kimonos-meet-couture-1539269544 IDEAS | ICONS Kimonos Meet Couture An exhibition at the Newark Museum explores the influence of traditional Japanese clothing on fashion design Kimono made in Japan for export to Western markets, ca. 1910 PHOTO: NEWARK MUSEUM By Susan Delson Oct. 11, 2018 10:52 a.m. ET Its impact is plainly visible in a 1920s evening coat by Chanel, a daring 1990s ensemble by John Galliano and a gossamer-thin, sci-fi confection made by Dutch designer Iris van Herpen in 2016. For a centuries-old, profoundly traditional garment, the Japanese kimono is quite the fashion influencer. Opening October 13 at the Newark Museum, “Kimono Refashioned: 1870s–Now!” explores the enduring presence of the kimono in global fashion. The exhibition features more than 40 garments by Japanese, European and American designers, paired with traditional kimonos, Japanese prints and other objects from the museum’s collection. Newark is the inaugural venue for the show, which was co-organized by the Kyoto Costume Institute and the Asian Art Museum of San Francisco. “The kimono has had multiple moments in which certain key designers have latched onto elements in both the structure and the fabric techniques,” said Katherine Anne Paul, curator of Asian art at the museum and a co-curator of the show.
    [Show full text]
  • Exotic and Mysterious Japan a Land of Endless Discovery and Contrasts
    Exotic and Mysterious Japan A Land of Endless Discovery and Contrasts A Cultural Odyssey Featuring and 6 Hands-On Textile and Craft Immersion Traditional Japanese Art into Kimono, Ikebana, Sushi, Experiences Weaving, Dyeing, Tea Ceremony, Sake, Traditional Baths and more… “Uncommon Textile Journeys that Change Lives” Come Explore Japan… The Land of the Rising Sun May I introduce you… In addition to our Japanese guides, Dayna and Alan Fisk-Williams will be the Loom Dancer Odysseys’ Guides for this adventure. After living in Japan, teaching school for eight years, Dayna and Alan have a profound love of the country, a true respect for its way of life as well as an understanding of its unique culture. They just can’t stay away and have returned to Japan many times (10!). Not only are Dayna and Alan wonderful individuals and dear friends of mine, they work tremendously well as a team. Who could be better to take you on an epic textile and crafts adventure in Japan? You are in the very best of hands and I know the journey will be another Loom Dancer Odyssey that changes lives. So, let’s get to know a little bit about them … In the Spirit of Creative Adventure, Cari Meet Your Guides Dayna and Alan in Japan 30 years ago Dayna Fisk-Williams has joined forces with Loom Dancer Odysseys as a Guide Alan Fisk-Williams and as the Art Education Director for Loom Dancers in has been leading groups on adventures for over 45 Santa Fe. Using her Master’s Degree in education, years.
    [Show full text]
  • Japanese Design Motifs and Their Symbolism As Used On
    JAPANESE DESIGN MOTIFS AND THEIR SYMBOLISM AS USED ON ITAJIME-DYED JUBAN by SUSAN ELIZABETH GUNTER (Under the Direction of Patricia Hunt-Hurst) ABSTRACT Itajime is a little-known process of resist-dyeing that employs sets of wooden boards carved in mirror image of one another to clamp together a piece of folded fabric. Itajime was used extensively to decorate Japanese women’s underkimono (juban). The objectives of this research were to examine a sample of sixty-five itajime-dyed garments, to identify the motifs used to decorate the garments, to ascertain the symbolic meanings of the motifs, and to create a catalog of the sixty-five itajime-dyed garments. The motifs appearing on the itajime-dyed garments were most often botanical, although other motifs in the following categories were also present: animal/bird/insect motifs, water-related motifs, everyday object motifs, and geometric designs and abstract shapes. INDEX WORDS: Itajime, Japanese Motifs, Resist Dyeing, Underkimono, Juban JAPANESE DESIGN MOTIFS AND THEIR SYMBOLISM AS USED ON ITAJIME-DYED JUBAN by SUSAN ELIZABETH GUNTER A.B., The University of Georgia, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF SCIENCE ATHENS, GEORGIA 2003 © 2003 Susan Elizabeth Gunter All Rights Reserved. JAPANESE DESIGN MOTIFS AND THEIR SYMBOLISM AS USED ON ITAJIME-DYED JUBAN by SUSAN ELIZABETH GUNTER Major Professor: Patricia Hunt-Hurst Committee: Glen Kaufman J. Nolan Etters Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2003 iv ACKNOWLEDGMENTS I would like to thank the members of my committee, Patricia Hunt-Hurst, Glen Kaufman, and Nolan Etters, for the support, kindness, and patience they have shown in all aspects of my graduate studies during the past two years.
    [Show full text]
  • Kesa Abstract
    BETSY STERLING BENJAMIN www.BetsySterlingBenjamin.com Lectures on Kesa, Rozome and Resist-Dye Techniques, Japanese Textiles, Costume, and Design All are illustrated lectures utilizing slides and/or video *Requests for special topic lectures for particular audiences welcomed. *Please contact for rates and availability ROZOME/RESIST TEXTILES The World of Rozome Liquid dye on thirsty cloth, molten wax and a steady hand. These are the elements of rozome. Many cultures consider fabric dyeing an art form. Historically it has been seen as clothing to designate rank or status, ritual cloth created to celebrate or commemorate life passages, soft hangings to narrate old stories of religion and myth or to depict honored royalty and even deities. In Japan wax-resist is not called batik but roketsu-zome or the shortened form, ro-zome (wax-dyeing). Although modern European and American batik have been inspired by the wax-resist fabrics of Indonesia, Japan has its own historical source flowing from the Asian continent; a flow that inspired the textile treasures stored in the Shosoin Repository of Nara for more than 1200 years. Japanese rozome is a sister of the batik of Indonesia, but the Japanese process has many distinctive techniques; a unique product of Japanese inventiveness. In current time it has grown out of the area of ethnology and decorative arts and into the field of fine arts where it has dazzled thousands with its dynamic possibilities. Japanese Resist-Dyeing: History and Practice Japan has an ancient tradition of fine resist-dyed textiles extending over 1200 years. During the Nara Period (645-794 CE), three resist techniques flourished: rokechi (wax resist), kokechi (bound resist) and kyokechi (clamp resist).
    [Show full text]
  • New Twist on Shibori
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 1994 New Twist on Shibori: How an Old Tradition Survives in the New World When Japanese Wooden Poles Are Replaced by American PVC Pipes Yoshiko Iwamoto Wada University of California, Berkeley, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Wada, Yoshiko Iwamoto, "New Twist on Shibori: How an Old Tradition Survives in the New World When Japanese Wooden Poles Are Replaced by American PVC Pipes" (1994). Textile Society of America Symposium Proceedings. 1051. https://digitalcommons.unl.edu/tsaconf/1051 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Wada, Yoshiko Iwamoto. “New Twist on Shibori: How an Old Tradition Survives in the New World When Japanese Wooden Poles Are Replaced by American PVC Pipes.” Contact, Crossover, Continuity: Proceedings of the Fourth Biennial Symposium of the Textile Society of America, September 22–24, 1994 (Los Angeles, CA: Textile Society of America, Inc., 1995). NEW TWIST ON SHIBORI: How AN OLD TRADITION SURVIVES IN THE NEW WORLD WHEN JAPANESE WOODEN POLES ARE REPLACED BY AMERICAN PVC PIPES YOSHIKO IWAMOTO WADA Center for Japanese Studies, 2223 Fulton St., University of California, Berkeley, CA 94 720 The subject of my talk is arashi shibori or pole wrap resist Although at times it is hard to recognize some arashi effects as such, technically arashi shibori is one of many forms of tie-dye.
    [Show full text]
  • Japanese Textiles: Three Ancient Art Forms Adrielle Hanes Johnson County Community College, [email protected]
    JCCC Honors Journal Volume 3 Article 5 Issue 1 Fall 2011 2012 Japanese Textiles: Three Ancient Art Forms Adrielle Hanes Johnson County Community College, [email protected] Follow this and additional works at: http://scholarspace.jccc.edu/honors_journal Recommended Citation Hanes, Adrielle (2012) "Japanese Textiles: Three Ancient Art Forms," JCCC Honors Journal: Vol. 3: Iss. 1, Article 5. Available at: http://scholarspace.jccc.edu/honors_journal/vol3/iss1/5 This Article is brought to you for free and open access by the Honors Program at ScholarSpace @ JCCC. It has been accepted for inclusion in JCCC Honors Journal by an authorized administrator of ScholarSpace @ JCCC. For more information, please contact [email protected]. Japanese Textiles: Three Ancient Art Forms Abstract This paper explores three distinct and distinctive textile production methods found in Japanese tradition. The beautiful art of sashiko—a singular quilting style-grew into an art form in the northern farms. Dating back to pre-history, the bound dyeing technique of shibori was refined in Japan. Another distinctive cultural art was Japanese weaving, including kasuri, a style of dyeing or painting warp and weft threads. In this study I was afforded the opportunity to experiment and try them firsthand, as well as research the traditional methods and history. This article is available in JCCC Honors Journal: http://scholarspace.jccc.edu/honors_journal/vol3/iss1/5 Hanes: Japanese Textiles: Three Ancient Art Forms The textile arts have been rural-bound treasures for centuries. No matter the country, state, or region, we find incredible examples of high craftsmanship tucked away in some of the most unexpected and remote places.
    [Show full text]
  • Faculty Development Grant Report Sumi Lee Professor of Fashion Design
    Faculty Development Grant Report Sumi Lee Professor of Fashion Design Faculty Development Grant Report Submitted Aug. 25th, 2015 Sumi Lee Professor of Fashion Design Project Description: In Fall 2014, I received a Faculty Development Grant to fund a workshop for ‘Traditional Japanese Textile and Indigo’ in Fujino, Japan. This workshop focused on the traditional Japanese ways of indigo dyeing, natural dyeing, several different kinds of Shibori dyeing (Mokume, Arashi, rope dyeing, resistant dyeing using mochi paste, Takano dyeing), stencil dyeing (Takazome-persimmon paper stencil) and thread making from silk cocoons. Additionally, I learned the basics of making Kumihimo (braids), arranging Ikebana (Japanese flower arrangements), conducting authentic Tea ceremonies, picking green tea leaves from a field, and making Japanese hand-made noodles for Udon. I learned how to respect the true value of 100% handcrafted works that have been handed down from generation to generation. Furthermore, I experienced their emphasis on sustainability and up-cycling, which are well practiced in Japanese culture – the ‘Wabi-Sabi’ spirit. Major activities during workshop: Indigo was central to this workshop. It was a great introduction to indigo dyeing and Japanese textiles in general and was held at a 150-year-old farmhouse situated in a serene, tea-growing mountain village in Japan. The master of this workshop is originally from Canada, but has been living in Japan for the past 25 years. Ever since he fell in love with traditional Japanese textiles, he has been farming, processing indigo, and raising silkworms. Considered a very important asset to this mountain village community, he contributed substantially to the Japanese artisan community – those who have dedicated their lives to create unsigned masterpieces that observe traditional artistic disciplines.
    [Show full text]
  • Notan Design Instructional Video
    Notan Design Instructional Video Discriminate Caleb always din his rissoles if Shepard is subordinative or vend fustily. Drawn-out Wyn swore or bolshevize some Trollopean self-denyingly, however master Rodolphe malfunction centrally or stunt. Self-rising and poverty-stricken Brewer Aryanizing almost repellingly, though Leonardo aestivating his poverty expands. If you through in your email to posterize to its underpainting made it refreshes the potential for manufacture as how i look for the rules of a way we become an instructional video Shop our selection of Japanese Brand today! CURRICULAR LEARNINGArt encompasses many subjects such as math when teaching students how to use a ruler and find the middle of the paper and so on. Artsonia is a kids art museum where young artists and students display their art for other kids worldwide to view. But that is only true in the West. The only way to stay in business is to keep producing more and more videos that people think they need. In this workshop Lorenzo demonstrates his process for painting from a reference photo in the studio while staying true to the original scene. These bright task card templates have a UNIQUE STYLE! Take it from an old timer, there are no short cuts. The documents generated here are considered to be in the Public Domain. So why do people buy them? Without it, both color and line fail to reach their full impact. With a range of lessons including painting desert landscapes to how to paint snow, these focused videos offer unique insight into the mind of a master plein air artist.
    [Show full text]
  • Shibori Dyeing
    SHIBORI DYEING Shibori dyeing is a technique where manipulation and binding of the fabric act as a resist to the dye or paint. Where the fabric is bound, the dye or paint can't penetrate, resulting in a wide variety of patterns and designs. Tie-dye from the 60s is an example of this. We'll explore two manipulation techniques-- pole binding and folding. Supplies-- The usual latex gloves, protected surfaces, and protected clothes. Fabric. Cotton or silk, ready to dye by removing any sizing and ironing flat. Dye or paint--Setacolor is great for this technique. Liquid Rit dye will work, but check for color saturation if you want something really bright. Also fabric paint or liquid acrylic paint like Ceramcoat can be used. If you use Ceramcoat or other artist's acrylic paint, a textile medium needs to be added so the colors don't wash out. Two parts paint to one part textile medium is the usual recipe. Textile medium is available at Michael's--either Martha Stewart brand or Americana brand and are found with the other paint products. Instructions for heat-setting or air-drying are on the product. For fold-resist--rubber bands, small binder clips, or mini-clamps. Iron the fabric and then accordion-fold it, ironing each fold flat. Try for about 1 1/2" folds. Technique 1--use binder clips to hold the long bundle together. Use a disposable bowl or plate and thin your dye or paint with water so it's the consistency of cream. Prepare as many colors as you want to try.
    [Show full text]
  • THE HEIAN JUNI-HITOE of a NOBLE LADY and COURTESAN for The
    THE HEIAN JUNI-HITOE OF A NOBLE LADY AND COURTESAN For the Team Mac & Cheese at the Quest for the Golden Seamstress 2009 Prepared by Sayyidaefendi (THL) Jahan Ara bint al-Yehya amat al-Hafeeza Fujinami no Kaede-hime & Lady Gillian de Chelseye (Figure 98 Heian Woman in Court Robes, Stevens, 1996, pg 136) The team of Mac and Cheese has chosen to create the clothing appropriate for a Heian lady of noble birth approximately around 1074 CE. We chose post 1074 CE because of sumptuary laws limiting the number of layers of dress allowed (Bryant, 2004). Taking into consideration the broad scope of this project and our budget for materials, we are making clothing for a noble lady, widowed, who has become a courtesan. In this document, we will provide information on women in Heian Japan and how clothing was representative of status. We will then discuss the history of the juni-hitoe describing each item of the outfit, how it was designed in period, and then we will explain how we took our research and created the garment you will see today. Throughout this document you will see our interpretations of each layer of clothing in bold. Heian Japan: A Culture in the Making Mono no aware- Beauty is precious because it is brief. Mono no aware is a phrase coined in the 19th century by Motoori Norinaga. It became the edification of the ideal that was the basis for aesthetics of the Heian Era in Japan (794-1192) (Hooker, 1999). The term aware during the Heian era represented ‗sensitivity to things‘ ranging from beauty to sadness, life, love or death.
    [Show full text]
  • Arimatsu to Africa: Shibori Textiles Developed for African Trade in 1948–49 Yoshiko Iwamoto Wada [email protected]
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2016 Arimatsu to Africa: Shibori Textiles Developed for African Trade in 1948–49 Yoshiko Iwamoto Wada [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Wada, Yoshiko Iwamoto, "Arimatsu to Africa: Shibori Textiles Developed for African Trade in 1948–49" (2016). Textile Society of America Symposium Proceedings. 1017. http://digitalcommons.unl.edu/tsaconf/1017 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Crosscurrents: Land, Labor, and the Port. Textile Society of America’s 15th Biennial Symposium. Savannah, GA, October 19-23, 2016. 549 Arimatsu to Africa: Shibori Textiles Developed for African Trade in 1948–49 Yoshiko Iwamoto Wada [email protected] Shibori is a traditional Japanese textile term now widely used to classify a variety of patterns created on cloth by plucking, stitching, folding and then tightly knotting, binding, or clamping to compress and selectively resist dye penetration.
    [Show full text]